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Thesis (Ed. D.)--Boston University.

Abstract This research is for the purpose of designing a teaching plan on integrating the digital archives of the NPM into elementary visual arts appreciation classrooms. Coordinate art and humanities domain textbook content, and cites the teaching pedagogy of critical thinking. Respectively take " Gradation " and " Contrast " as the core concept. Actual conducts motion research two circulation teaching. The first circulation teaching take "the form", "the succession", "thetechnology", "the style" advances gradually as the unit design center of gravity, after procedure and so on back coupling, introspection,revision teaching process, finally, implements take "the space", "theideal condition", "the life", "the skill" the contrast as the unit design center of gravity second circulation curriculum. In the curriculum melts into the digital archives of the NPM,Proceeds in an orderly way guides the student to carry on arts appreciation teaching. This research take "the study list" as formative assessment, records the student to study the course. Using "The Art Appreciation Ability Test" is summative assessment. Inspect student after teaching implementation art appreciation ability whether does promote. And uses "the study feeling to ask the volume" understands the student to the digital archives of the NPM and the art appreciation study feeling. The findings in this study were as follows: ¢¹. The Art Appreciation Ability 1. Looked from formative assessment. Take the question guidance as the principle of design, may stimulate the student ponder and be dialectical. The penetration guidance type question, the increase art glossary refers for the student, can effectively promote arts appreciation integrity. 2. Looked from summative assessment. The teaching can improve student¡¦ ability of " content description ability "," formal analysis ability "," meaning interpretation ability " , " value evaluation ability " effectively. ¢º. The digital archives of the NPM 1. On first circulation resources type, most can initiate student's interest is " 3D Virtual Artworks Display System" and " The Fashionable vs. The Antiquarian Teaching disc ". " Surprise Below:Ode to the Red Cliff " and "Componentsthe" function in 3D Virtual Artworks Display System , " 360¢XView " function in The Fashionable vs. The Antiquarian Teaching disc help study effect is best. 2. On second circulation resources function, The student thought "the animation character illustrated" the study feeling is most profound. Also may arouse a higher interest, also can effectively help the study. The demonstration in the teaching, the author or the historical personage offers one's experiences as an example, is helpful to the student in the arts appreciation study. Finally,the researchers provided a motion research teaching result,limitation,and suggestions for the further research in the field of art appreciation teaching at the elementary school. Key word¡Gdigital archives,the teaching of art appreciation,the ability of visual art appreciation.

This thesis is a systematic study of the representations of Telamonian Ajax in archaic and classical Greece. Its aim is to trace, examine, and understand how and why the constitutive elements of his myth evolved in the way they did in the long chain of its receptions. Particular attention is paid to the historical, socio-cultural and performative contexts of the literary works and visual representations I analyse as well as to the audience for which these were produced. The study is divided into three parts, each of which reflects a different reality in which Ajax has been received (different with respect to time, place, or literary genre). Artistic representations of the hero, as well as his religious dimension and political valence, are consistently taken into account throughout the thesis. The first part - Ajax from Salamis - focuses on epic poetry, and thus investigates the Panhellenic significance of the hero (rather than his reception in a particular place). It treats the entire corpus of early Greek hexameter poetry that has come down to us in written form as the reception of a common oral tradition which each poem has adapted for its own purpose. I establish that in the larger tradition of the Trojan War, Ajax was a hero characterised by his gift of invulnerability. Because of this power, he is the figure who protects his companions - dead or alive - par excellence. However, this ability probably also led him to become over-confident, and, accordingly, to reject Athena's support on the battlefield. Hence, the goddess's hostility towards him, which she demonstrated by making him lose the reward of apioteia (Achilles' arms). His defeat made Ajax so angry that he became mad and committed suicide. I also show how this traditional Ajax has been adapted to fit into the Iliad's own aesthetics. The second part - Ajax in Aegina - concentrates on the reception of Ajax in the victory odes of Pindar and Bacchylides for Aeginetan patrons. I argue that in the first part of the fifth century, Ajax becomes a figure imbued with a strong political dimension (especially with regard to the relationship between Athens and Aegina). Accordingly, I show how the presence of Ajax in Pindar's and Bacchylides' poems is often politically charged, and significant within the historical context. I discuss the influence this had on his representation. Finally, the third part moves to Athens, as I consider Ajax's reception during three distinct periods: the sixth century, the first half of the fifth century, and finally the rest of the classical period. I equally insist on the political dimension of the figure. I demonstrate that his figure undergoes a shift of paradigm in the early fifth century, which deeply affects his representation. By following in the footsteps of Ajax, this study prompts a series of reflections and comments on each of the works in which the hero features as well as on the relationship of these works to the historical context in which they were produced.

This study was concerned with the development and testing of an instrument to measure levels of aesthetic judgement making. The review of evaluation methods for aesthetic judgement resulted in a two-part instrument. The review of related literature demonstrated that the majority of instruments for aesthetic judgment employed a naive to sophisticated judgment comparison to determine levels of aesthetic sensitivity. The inadequacy of a score reporting only the degree of agreement between the subject's choice and the choice of a panel of experts without indicating the source agreement was discussed. Content analysis of aesthetic responses used in research studies by Wilson and Morris were presented as an alternative means for determining aesthetic criteria. Part one required the subject to select the better of two art works and to state the reasons for the choice. Part two, a self-scoring component, consisted of the Wilson categories presented as typical statements containing the primary criterion for the category. The subject was instructed to select the statements that were closest in meaning to his initial response.

No description available.

The text contains an analysis of the composition, libretto, set design, and photographs from the original production. / Digitized by Kansas Correctional Industries / Department: Music.

This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works. / Master of Arts (Hons)

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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.